PERSPECTIVE TIP: How to draw correct perspective lines without using vanishing points (or when the points are located off the page)
I hope the handwriting is legible. In the future when I have time I’ll make a neater version of this with more example. The gist of it is to divide the right and left side of the page into points of equal spacing, but give one side more points than the other.
If you know a bit of math, read on: this is actually just a bit of a ratio problem using the idea of similar triangles. Since any two points on a single perspective line form similar triangles with the vanishing point as its vertex, then the ratio of the distance of the two points, measured from the base of the triangle must be constant.
In the picture above, PRQ and SRT are similar triangles. R is where the vanishing point is located, S is the point on the right vertical frame, and P is the point on the left vertical frame. Because they’re similar triangles, when changing the length of ST, you must also change the length of PQ, keeping the ratio of PQ:ST constant.
This is brilliant!!!
SenshiStock’s gallery consists of millions of pictures that are free to use as reference.
General Drawing Poses
Sit and Kneel
Dramatic and Reaching Drawing Poses
Magic and Hogwarts Drawing Poses
Staff Weapon Pose Reference
Hammer, Axe and Bat Pose Reference
Sword Weapon Drawing Reference
Small Bladed Weapon Pose Reference
Gun Weapon Pose Reference
Bow and Arrow Archery Stock
Foreshortening and Perspective Poses
Dynamic Flying Falling Action Poses
Deafeated or Laying Drawing Poses
Magical Girl Wand Weapon
Transformations and Dance
Back Pose Reference
Pin Up Inspired Poses for Drawing
Life in General Poses
Fights and Fighting Pose Reference
Classic Sailor Senshi Poses
Sailor Moon Villains
Romance or Couples Pose Reference
All the Male Stock
Hanging Stock Drawing Reference
Three or More Groups
Perspective basics and exercises 4.
Just some exercises to understand how some random images that I like work in perspective.
I’m moving into cast shadows now.
That’s actually a really cool idea! For some of us, to learn something, it helps to get in and play around with it!
also TIL How to Draw Manga books can actually give you some incredibly helpful perspective references as long as you’re willing to sift through the crap
posting to share the refs lemme know if you guys want me to post more
Body perspective is one of my weakest points, thank you for posting this.
this is from a how-to-draw-manga book? holy shit.
While the software is very simple compared to SAI and Photoshop, I have discovered one thing FireAlpaca has that SAI and Photoshop doesn’t! At least, as far as I know.
It’s THIS THING:
It can make guides like these:
I’m not very at explaining how to use it,…
Create Perspective Grids with this free art tool from epic games:
Get Carapace from Epics blog, here.
(the download link is at the bottom of the blog post)
A weird thing I find incredibly helpful for art/writing.
Eplans.com is a website that sells blueprints for houses.
This might not seem that helpful but if you want a characters house you can make selections based on what sort of house you want them to live in.
Then browse through the results and find the house you want. Then you can view the blueprints and have a room layout for that house, which can help with visualising the space they live in.
It makes describing generic homes so much easier.
Floor plans are one aspect of comics I always forget about until they come up. This is really helpful!
Crispy’s Environments and Characters Tutorial - Part 2: The Drawing
(Straight off, I want you to bear with me if the quality of the drawing is a bit different than my usual—I usually draw things with a paper and pencil and then scan it in, which personally gives me a better level of control on my lines, but it would’ve been a hassle to have to scan and rescan everything over and over. So, I’m doing it digitally! But what I’m going to show here should work regardless of medium.)
Now that we have everything planned out, we can go to the next phase - the actual drawing.
The way I work is I start with scribbles and then I refine things. Usually this stage on paper, I would be doing a quick preliminary sketch with colored pencil, just to get the placement of everything. Don’t worry about precise perspective or exactly precise proportions for the characters just yet.
Here’s my preliminary undersketch based on the thumbnail. I shaded the foreground really quickly so that you’d be able to understand some of my lines.
The thick line that’s running horizontally across the page (and through Freya’s head) is the horizon line. It’s good to figure out where that is as early as you can—a lot of the time you can eyeball the perspective in a picture just based on where the horizon line is.
After this, I start mapping out the perspective. This is very important in creating the illusion of depth. This picture contains pretty simple 1 point perspective, with the vanishing point somewhere in Freya’s face (which is a simple, pretty-much-cliche way to compositionally push the eye towards the characters, but that’s another tutorial). So, let’s map it out:
Ignoring the fact that Freya looks like she has the universe coming out of her forehead, now we have something that we can base the perspective of the picture on. Let’s do a fuller undersketch now with these guidelines.
Let’s just focus on the environment for now and deal with the characters later.
The reason I generally deal with the environment before working with the characters is because I don’t think you should approach an illustration thinking the characters exist and you form the world around them—the world exists and the characters exist inside of it.
But as you see here I’ve drawn everything according to the perspective map. There are a couple places that might need some fixing up, and I’ve chosen a couple of places (the cards on the foreground shelf, one of the boxes on the top shelf in the background, etc) where they are tilted at a different perspective—this makes the environment slightly more believable, because not everything exists on a grid in reality either.
Now let’s continue onto the characters.
Something I notice in a lot of pictures is that even with people who understand how to create an environment with perspective, there is a disconnect between the characters and the environment because they don’t always apply the same perspective to the characters they are drawing.
DO NOT FORGET THAT CHARACTERS EXIST IN THE SAME PLANE AS THE REST OF THE PICTURE. IF YOUR ENVIRONMENT IS THREE DIMENSIONAL, YOUR CHARACTER HAS TO BE TOO, AND SO CONFORMS TO THE RULES OF PERSPECTIVE.
This isn’t as difficult as it might sound.
The left is drawn without thinking about perspective, the right was drawn in consideration of the background. You don’t have to be exact—if you know where the horizon line is, you can eyeball the perspective, but things look better and the character looks more like it belongs in the environment when you take perspective into consideration. (note the feet, the shoulders, the elbows, the knees, etc).
Let’s draw the characters.
Characters drawn in perspective!
All of these things help make the characters look like they belong in the environment. Another thing that helps is Character Interaction with the environment. Freya is sitting on the bench, Amarant has his foot on a stool. Little things like that make it so that it’s more believable that the character is IN the environment.
The next part will be coloring. I’mma ink this picture properly now, and I’ll bring you the next part of the tutorial then. I hope you all find this helpful! If you have any questions or need anything further explained, feel free to drop me a note.